DOCSLIB.ORG

ELA Grade 9 Unit of Study: "Introduction to Mythology"

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ELA Grade 9 Unit of Study: Getting to the Core English Language Arts Grade 9 Unit of Study Introduction to Mythology Final Revision: June 4, 2014 TEACHER EDITION ELA Grade 9 Intro to Mythology Unit Overview UNIT OVERVIEW ELA Grade 9 Introduction to Mythology This unit introduces students to mythology from around the world, focusing closely on the patterns that all myths share. By learning to recognize these patterns, students will make connections between age-old stories and the world they live in to reveal universal truths. Students will apply new learning by completing a project that includes creating or researching a myth as well as argumentative writing. Big Idea: Patterns allow us to make sense of our world. Essential Questions: 1. What are the criteria of a myth? 2. What patterns exist in myths? 3. What patterns do myths use to explain our world? 4. How do myths reflect cultural beliefs and values? Unit Timeline Day 1 Day 2 Day 3 Day 4 Day 5 Lesson 1: Lesson 1: Lesson 1: Close Lesson 2: Video Lesson 2: Anticipatory Guide; PowerPoint on reading of “Arachne clip with text- Continued Jigsaw - background reading patterns; close the Spinner;” pre- dependent re-presenting the and video with text- reading of “How the assessment: questions; close text; group dependent questions Crocodile Got Its Argumentative reading and Jigsaw discussion Skin” Writing Task #1 – of “The Beginning 1 paragraph of Things” Day 6 Day 7 Day 8 Day 9 Day 10 Lesson 2: Lesson 3: Building Lesson 3: First Lesson 3: Second Lesson 3: Complete Argumentative background reading of “The reading in groups Cyclops Comic Writing Task #2 – activities and Cyclops” using using Section Strip; Gallery Walk 1 paragraph PowerPoint Collaborative Analysis Chart; Annotation Chart begin Cyclops Comic Strip Day 11 Day 12 Day 13 Day 14 Day 15 Lesson 3: Lesson 3: Finish Lesson 4: Introduce Lesson 4: Students Lesson 4: Projects Argumentative Argumentative final assessment: work on project due; optional Writing Task #3 – Writing Task #3 “Patterns Allow Us presentations 3 paragraphs to Make Sense of Our World” Project TABLE OF CONTENTS Contents Pages Unit Planner 1-5 Lesson 1: What are the criteria of a myth? What patterns exist in myths? 6-15 Resource 1.1 Anticipatory Guide: Thinking about My World 16 Resource 1.2 Myths and Mythology 17 Resource 1.3 Three Criteria of a Myth (optional visual piece) 18 Resource 1.4 Transcript for TED Talks Video + Essential Questions 19-20 Resource 1.5 Patterns in Mythology Matrix 21 Resource 1.6 Evidence of Patterns Matrix 22 Resource 1.7 “How the Crocodile Got Its Skin” text 23 Resource 1.8 “Arachne the Spinner” text 24-26 Resource 1.9 Pre-assessment: Writing an Argument 27 Lesson 2: What patterns do myths use to explain our world? 28-33 Resource 2.1 Warm-up: Responding to Video Clip 34 Resource 2.2 A Summary of How the World Was Made (optional) 35-36 Resource 2.3A-E “The Beginning of Things” Parts 1- 5 37-41 Resource 2.4 Collaborative Annotation Chart – “Beginning” Part I 42 Resource 2.5 Collaborative Annotation Chart – “Beginning” Part_ 43 Resource 2.6 Myth Comparison Matrix: “The Beginning of Things” 44 Resource 2.7 Writing an Argument #2 45-46 Resource 2.8 Model Paragraph (Writing Outline) 47 Lesson 3: How do myths reflect cultural beliefs and values? 48-55 Resource 3.1 Cyclops Painting & Quick-Draw 56-57 Resource 3.2 PowerPoint Notes: Introduction to Epic/Myth/Cyclops 58-61 Resource 3.3 Collaborative Annotation Chart – “The Cyclops” 62 Resource 3.4 Section Analysis Chart 63-70 Resource 3.5A-B Cyclops Comic Strip Planning Sheet & Model 71-74 Resource 3.6 Cyclops Comic Strip Gallery Walk: Focused Questions 75-76 Resource 3.7 Evidence of Cultural Beliefs, Values & Patterns Matrix 77 Resource 3.8 Argumentative Writing Task #3 78-79 Resource 3.9 Teacher Resource List 80 Lesson 4: Performance Task Project 81-84 Resource 4.1 “Patterns” Project Instructions 85 Resource 4.2 “Patterns” Project Rubric 86 Resource 4.3 “Patterns” Project Example 87 Appendix of Strategies Used in the Unit 88-98 Santa Ana Unified School District Common Core Unit Planner-Literacy Unit Title: Introduction to Mythology Grade Level/Course: ELA Grade 9 Time Frame: 10-15 days Patterns allow us to make sense of our world. Big Idea: What are the criteria of a myth? What patterns exist in myths? Essential Questions: What patterns do myths use to explain our world? How do myths reflect cultural beliefs and values? Instructional Activities: Activities/Tasks Lesson 2, Duration: 2-3 Days Lesson 1, Duration: 3 Days Complex Texts: Video Segment: Devdutt Pattanaik’s “East vs. West – the myths Complex Texts: Video segment: “Hindu Beginning of the World Story;” Jigsaw that mystify;” “How the Crocodile Got Its Skin” myth; “Arachne the Spinner” myth Readings: The Beginning of Things by Abbie Farwell Brown Pre-reading Video Read 1-2 Myths Read 1-3 Video Read 1-2 Myths Read 1-2 Read 3 Anticipation Guide; Video/Transcript Unencumbered read; Text-dependent Collaborative Annotation Re-presenting Text; Writing Prompt Pre- Text-Dependent collaborative annotation; Questions; Discussion Chart; Jigsaw Reading; Writing an Myth Comparison Argumentative assessment (at end) Questions Evidence of Patterns Matrix Matrix Paragraph Lesson 3, Duration: 3-6 Days Lesson 4, Duration: 2-3 Days Complex Text: Homer (translated by Robert Fitzgerald). “The Cyclops” from Summative Assessment Performance Task: Patterns Allow Us to “The Odyssey, Book 9,” Holt pages 660-670 Make Sense of Our World Project Read 1 Read 2-3 Read 3 Pre-Write Writing Project Audio recording as Section Analysis Evidence Matrix; Select myth or write Write 3 Create (and present, if needed; Collaborative Chart; Cyclops Comic Argumentative original “myth” Argumentative time) Poster Annotation Chart Strip & Gallery Walk Writing Task Paragraphs SAUSD Common Core Unit 1 Learning and Innovation: Critical Thinking & Problem Solving Communication & Collaboration Creativity & Innovation 21st Century Skills: Information, Media and Technology: Information Literacy Media Literacy Information, Communications & Technology Literacy Tier II: Tier III: criteria, pattern, culture, values, elements, rituals, rational, myth, mythology, archetype, logos, mythos, symbols, epic, in media-res, Essential rationality, illogical, objective, subjective, superstition, resolution, claim/counter-claim, Cyclops, plot Academic splendid, folly, spinner, weaver, loom, tapestry, mortal, admire, transformed, creation, symbolize, conflict, accounts, Language: legend, odyssey, hero, voyage, adversary, restitution, ewes, dismember, stoke, ravage, ninny, evidence, elaboration, sequence What pre-assessment will be given? How will pre-assessment guide instruction? During Lesson 1, students will be assigned an argumentative paragraph in which Using the rubric, teachers will assess how well students cite evidence, make a they must include evidence from the text and elaborate on explaining how that claim, and elaborate on responses. Based on this information, teachers may re-teach evidence supports their central claim. certain areas the whole class needs to revisit, provide a model for students in need, target individual students and work one-on-one with them, etc. End of Unit Performance Task: “Patterns Allow Us to Make Sense of Our World” Project (writing piece and poster) What assessment(s) will be utilized for this unit? (include the types of both formative Common Core Learning Standards Taught and Assessed (include assessments (F) that will be used throughout What does the one or more standards for one or more of the areas below. Please the unit to inform your instruction and the assessment tell us? write out the complete text for the standard(s) you include.) summative assessments (S) that will demonstrate student mastery of the standards.) Bundled Reading Literature Standard(s): Formative written paragraphs at the end of each -These assessments RL.9-10.1 Cite strong and thorough textual evidence to support analysis of what the reading (F) reveal students’ text says explicitly as well as inferences drawn from the text. Answering and discussing text-dependent comprehension of RL.9-10.2 Determine a theme or central idea of a text and analyze in detail its questions (F) readings. They also development over the course of the text, including how it emerges and is shaped and Random calling of students during class allow teachers to refined by specific details; provide an objective summary of the text. discussions (F) differentiate for RL.9-10.6 Analyze a particular point of view or cultural experience reflected in a Collaborative Annotation Charts (F) individual students or work of literature from outside the United States, drawing on a wide reading of Section Analysis Chart (F) the whole class as world literature. Cyclops Comic Strip (F) necessary. -The summative piece Final Project (S) should clearly reflect SAUSD Common Core Unit 2 student learning and growth throughout the unit. Bundled Reading Informational Text Standard(s): Circle Map (F) -These assessments RI.9-10.1 Cite strong and thorough textual evidence to support analysis of what the Text-dependent questions (F) reveal students’ text says explicitly as well as inferences drawn from the text. Final Project (S) comprehension of readings and videos. They also allow teachers to differentiate for individual students or the whole class as necessary. -The summative piece should clearly reflect student learning and growth throughout the unit. Bundled Writing Standard(s): Paragraphs at the end of each reading, focusing -The multiple written W.9-10.1 Write arguments to support claims in an analysis of substantive topics or on claim and textual evidence (F) paragraphs will show texts, using valid reasoning and relevant and sufficient evidence. Final Project (S) students’ progression/ a. Introduce precise claim(s), distinguish the claim(s) from alternate or mastery of writing opposing claims, and create an organization that establishes clear standards. relationships among claim(s), counterclaims, reasons, and evidence.
Load more

Recommended publications
  • Strategy Games Big Huge Games • Bruce C
    04 3677_CH03 6/3/03 12:30 PM Page 67 Chapter 3 THE EXPERTS • Sid Meier, Firaxis General Game Design: • Bill Roper, Blizzard North • Brian Reynolds, Strategy Games Big Huge Games • Bruce C. Shelley, Ensemble Studios • Peter Molyneux, Do you like to use some brains along with (or instead of) brawn Lionhead Studios when gaming? This chapter is for you—how to create breathtaking • Alex Garden, strategy games. And do we have a roundtable of celebrities for you! Relic Entertainment Sid Meier, Firaxis • Louis Castle, There’s a very good reason why Sid Meier is one of the most Electronic Arts/ accomplished and respected game designers in the business. He Westwood Studios pioneered the industry with a number of unprecedented instant • Chris Sawyer, Freelance classics, such as the very first combat flight simulator, F-15 Strike Eagle; then Pirates, Railroad Tycoon, and of course, a game often • Rick Goodman, voted the number one game of all time, Civilization. Meier has con- Stainless Steel Studios tributed to a number of chapters in this book, but here he offers a • Phil Steinmeyer, few words on game inspiration. PopTop Software “Find something you as a designer are excited about,” begins • Ed Del Castillo, Meier. “If not, it will likely show through your work.” Meier also Liquid Entertainment reminds designers that this is a project that they’ll be working on for about two years, and designers have to ask themselves whether this is something they want to work on every day for that length of time. From a practical point of view, Meier says, “You probably don’t want to get into a genre that’s overly exhausted.” For me, working on SimGolf is a fine example, and Gettysburg is another—something I’ve been fascinated with all my life, and it wasn’t mainstream, but was a lot of fun to write—a fun game to put together.
    [Show full text]
  • Mythology Teachers' Guide
    Teachers’ Guide Mythology: The Gods, Heroes, and Monsters of Ancient Greece by Lady Hestia Evans • edited by Dugald A. Steer • illustrated by Nick Harris, Nicki Palin, and David Wyatt • decorative friezes by Helen Ward Age 8 and up • Grade 3 and up ISBN: 978-0-7636-3403-2 $19.99 ($25.00 CAN) ABOUT THE BOOK Mythology purports to be an early nineteenth-century primer on Greek myths written by Lady Hestia Evans. This particular edition is inscribed to Lady Hestia’s friend John Oro, who was embarking on a tour of the sites of ancient Greece. Along his journey, Oro has added his own notes, comments, and drawings in the margins — including mention of his growing obsession with the story of King Midas and a visit to Olympus to make a daring request of Zeus himself. This guide to Mythology is designed to support a creative curriculum and provide opportunities to make links across subjects. The suggested activities help students make connections with and build on their existing knowledge, which may draw from film, computer games, and other popular media as well as books and more traditional sources. We hope that the menu of possibilities presented here will serve as a creative springboard and inspiration for you in your classroom. For your ease of use, the guide is structured to follow the book in a chapter-by-chapter order. However, many of the activities allow teachers to draw on material from several chapters. For instance, the storytelling performance activity outlined in the section “An Introduction to Mythology” could also be used with stories from other chapters.
    [Show full text]
  • Age of Mythology: the Titans C H a P T
    4303_ch01_final.qxd 9/15/03 7:35 AM Page 1 Age of Mythology: C The Titans H ge of Mythology is one of the best real-time strategy games ever produced. Ensemble Studios’s classic offered three A unique and balanced mythologies, a proven counterbalancing A combat system, and dozens of units rooted in deep and intriguing mythology. Age of Mythology: The Titans Expansion enhances the original game with an exciting set of changes and new features. This P chapter covers the most important gameplay alterations in Titans. We’ll discuss changes to mythological units, each mythology’s updates and unique T technology, and of course, the new Titan super unit. E R COPYRIGHTED MATERIAL 1 4303_ch01_final.qxd 9/15/03 7:35 AM Page 2 Important Changes from Age of Mythology Age of Mythology:The Titans Expansion offers many important balance tweaks and additional improvements over the original game.This section lists all of the general tweaks to all mythologies, then covers the Greek, Egyptian, and Norse mythology changes and new improvements, and how they affect strategies. * Mythological units are more important and valuable in gameplay. Many of the Greek, Egyptian, and Norse mythological unit statistics have been tweaked to make mytholog- ical units much more powerful in gameplay. Here are a few examples: the Greek Cyclops now has 650 hit points instead of 500; the cost of the Greek Medusa has been reduced to 250 gold, 32 favor instead of 250 gold, 40 favor; attack damage of the Egyptian Phoenix increased to 30 hack instead of 20 hack; cost of the Norse Mountain Giant reduced to 300 food, 27 favor instead of 300 food, 30 favor.
    [Show full text]
  • ELA Grade 9 Unit of Study
    Getting to the Core English Language Arts Grade 9 Unit of Study Introduction to Mythology STUDENT RESOURCES Final Revision: June 4, 2014 TABLE OF CONTENTS Contents Pages Lesson 1: What are the criteria of a myth? What patterns exist in myths? Resource 1.1 Anticipatory Guide: Thinking about My World 1 Resource 1.2 Myths and Mythology 2 Resource 1.3 Three Criteria of a Myth 3 Resource 1.4 Transcript for TED Talks Video + Essential Questions 4-5 Resource 1.5 Patterns in Mythology Matrix 6 Resource 1.6 Evidence of Patterns Matrix 7 Resource 1.7 “How the Crocodile Got Its Skin” text 8 Resource 1.8 “Arachne the Spinner” text 9-11 Resource 1.9 Pre-assessment: Writing an Argument 12 Resource 2.1 Warm-up: Responding to Video Clip 13 Resource 2.2 A Summary of How the World Was Made 14-15 Resource 2.3A-E “The Beginning of Things” Parts 1- 5 16-20 Resource 2.4 Collaborative Annotation Chart – “Beginning” Part I 21 Resource 2.5 Collaborative Annotation Chart – “Beginning” Part_ 22 Resource 2.6 Myth Comparison Matrix: “The Beginning of Things” 23 Resource 2.7 Writing an Argument #2 24-25 Resource 2.8 Model Paragraph (Writing Outline) 26 Resource 3.1 Cyclops Painting & Quick-Draw 27-28 Resource 3.2 PowerPoint Notes: Introduction to Epic/Myth/Cyclops 29-32 Resource 3.3 Collaborative Annotation Chart – “The Cyclops” 33 Resource 3.4 Section Analysis Chart 34-41 Resource 3.5A Cyclops Comic Strip Planning Sheet 42-43 Resource 3.6 Cyclops Comic Strip Gallery Walk: Focused Questions 44-45 Resource 3.7 Evidence of Cultural Beliefs, Values & Patterns Matrix 46 Resource 3.8 Argumentative Writing Task #3 47-48 Resource 4.1 “Patterns” Project Instructions 49 Resource 4.2 “Patterns” Project Rubric 50 Resource 4.3 “Patterns” Project Example 51 ELA Grade 9 Intro to Mythology, Lesson 1 Resource 1.1 Anticipatory Guide: Thinking about My World Opinion Explanation Agree Disagree Patterns help us 1.
    [Show full text]
  • Age of Mythology Para Mac Descargar Gratis
    Age of mythology para mac descargar gratis Continue Similar suggested software Read more reviewsTanta commentPlay moreGamingLeer moreGamingLue moreLue moreLete moreLue addLue plus 12x interest-free12x interest-free12x interest-free12x no interest12x free shipping is weight, price and distance shipping. Stay up to date with the latest software releases, news, software discounts, promotions, and more. Order 27.4.2020 - 100% Safe - Try free download (4.6 MB) Safe and secure latest version:Age of Empires III LAST Requirements:Mac OS X 10.11 or later Ranking User: Author/Product:Microsoft Corporation/Age of Empires III for Mac Previous versions: Select Age of Empires III Filename:AOEIII.dmg Details:Age of Empires III for Mac 2020 full version offline installer for Mac Age of Empires 3 for Mac (also known as Age of Empires III) is a popular real-time strategy developed by Ensemble Studios and released by Microsoft Game Studios on Mac for Home in 2005. After two games and their expansions, they focused on their visual style. In the exhibition, hundreds and thousands of 2D Sprite-based units, the third game in this franchise was completely transferred to 3D images, which the studio first introduced in its popular 2002 Age of Mythology release. Immediately after launch, Age of Empires 3 macOS managed to become one of the best-selling Mac games of its time, reaching more than 2 million players in its first three market years. In the age of American exploration, the central offering of this game focuses on eight civilizations (British, Spanish, French, Portuguese, Russian, Dutch, German and Ottoman), moving through five distinct ages and all opening up access to more capable support buildings and military units.
    [Show full text]
  • Greco-Roman Mythology Overview
    Cyclopaedia 26 – Greco-Roman Mythology By T.R. Knight (InnRoads Ministries * Article Series) Overview Creatures and Monsters of Mythology Most likely, you studied Classical Mythology, also called Greco-Roman Mythology, in Greco-Roman Mythology depicts more than school. You read about the various Greek and just gods and demi-gods. There is an entire Roman gods that inspired storytellers and ecosystem of unique creatures and poets to write some of the great epics and monsters. Many of them exist in similar tragedies. These myths began as oral forms, sometimes with different names, in traditions, then were late compiled into other mythologies and folklore. Greek and Latin writings. • Argus These myths related the Greek and Roman • Centaur religions, concerned with the actions of gods, • Cerberus supernatural creatures, and the heroes • Cetus influenced by the gods. The most famous of • Chimera these were written by Homer, the Iliad and • Colchian Dragon the Odyssey. • Cyclops • Echidna The Romans adapted the myths of the • Griffin Greeks, importing many into their own • Harpy legends and stories, creating counterparts. • Hecatoncheires Thus, you find Ares mirrored in Mars as the • Lamia war god, and many gods and demigods with • Lernaean Hydra matching legends but different names. • Medusa • Minotaur Cinema latched onto these myths as • Myrmekes Indikoi storylines because of their fantastic tales, • Pegasus epic settings, and over-the-top heroes. The • Satyr films were so popular, a cheaper subgenre • Scylla emerged called peplum, or more commonly • called sword-and-sandal, which were a mix of Sphinx lower budget Biblical or Mythology based • Triton films. • Typhon Classical Mythology still fascinates us today, Following are sources of information spawning new book series, movies of epic pertaining to Greco-Roman Mythology to heroes, and games that let us step into the assist prospective game masters, game role of mythical heroes and gods.
    [Show full text]
  • Ancient Greece and Rome in Videogames: Representation, Player Processes, and Transmedial Connections
    Ancient Greece and Rome in Videogames: Representation, Player Processes, and Transmedial Connections Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor of Philosophy By Ross Clare September 2018 Abstract Videogames are a hugely popular entertainment medium that plays host to hundreds of different ancient world representations. They provide very distinctive versions of recreated historical and mythological spaces, places, and peoples. The processes that go into their development, and the interactive procedures that accompany these games, must therefore be equally unique. This provides an impetus to both study the new ways in which ancient worlds are being reconfigured for gameplayers who actively work upon and alter them, and to revisit our conception of popular antiquity, a continuum within popular culture wherein ancient worlds are repeatedly received and changed in a variety of media contexts. This project begins by locating antiquity within a transmedial framework, permitting us to witness the free movement of representational strategies, themes, subtexts and ideas across media and into ancient world videogames. An original approach to the gameplay process, informed by cognitive and memory theory, characterises interaction with virtual antiquity as a procedure in which the receiver draws on preconceived notions and ideas of the ancient past to facilitate play. This notion of “ancient gameplay” as a reception process fed by general knowledges, previous pop-cultural engagements, and dim resonances of antiquity garnered from broad, informal past encounters allows for a wide, all-encompassing study of “ancient games”, the variety of sources they (and the player) draw upon, and the many experiences these games offer.
    [Show full text]
  • Age of Mythology : the Titans Expansion: Sybex Official Strategies
    SYBEX Sample Chapter Age of Mythology®: The Titans Expansion: Sybex Official Strategies & Secrets™ Doug Radcliffe and Michael Rymaszewski Chapter 2: The Game Economy Copyright © 2003 SYBEX Inc., 1151 Marina Village Parkway, Alameda, CA 94501. World rights reserved. No part of this publication may be stored in a retrieval system, transmitted, or reproduced in any way, including but not limited to photocopy, photograph, magnetic or other record, without the prior agreement and written permission of the publisher. ISBN: 0-7821-4303-2 SYBEX and the SYBEX logo are either registered trademarks or trademarks of SYBEX Inc. in the USA and other countries. TRADEMARKS: Sybex has attempted throughout this book to distinguish proprietary trademarks from descriptive terms by following the capitalization style used by the manufacturer. Copyrights and trademarks of all products and services listed or described herein are property of their respective owners and companies. All rules and laws pertaining to said copyrights and trademarks are inferred. This document may contain images, text, trademarks, logos, and/or other material owned by third parties. All rights reserved. Such material may not be copied, distributed, transmitted, or stored without the express, prior, written consent of the owner. The author and publisher have made their best efforts to prepare this book, and the content is based upon final release software whenever possible. Portions of the manuscript may be based upon pre-release versions supplied by software manufacturers. The author and the publisher make no representation or warranties of any kind with regard to the completeness or accuracy of the contents herein and accept no liability of any kind including but not limited to performance, merchantability, fitness for any particular purpose, or any losses or damages of any kind caused or alleged to be caused directly or indirectly from this book.
    [Show full text]
  • Command and Conquer in the Development of Real-Time Strategy
    Command and Conquer in the Development of Real-Time Strategy Alex Devkar 3/18/2003 STS145 Professor Henry Lowood 2 Introduction By all accounts, Command & Conquer (C&C) was an immediate and unmitigated success when it was released in late 1995. It spawned one of the most lucrative series in videogame history, and its title has become synonymous with real-time strategy (RTS). Yet, the basis of the game was not original. Dune II, from the same developer, had previously established the RTS genre, and C&C was almost identical in many respects. What made C&C such a sensation was its refinement of Dune II’s gameplay ideas with the addition of several key innovations, which set the standard for all games of the genre to come. Internet play and varied styles of play between the different armies in the game were some of the important advances that are now fundamental to RTS. Furthermore, C&C’s flaws clearly showed some areas in which improvement was possible. The AI was far from perfect, and the idea of devoting more resources to AI became a topic of discussion in the industry. In essence, by both its strengths and weaknesses, the game provided a roadmap for the further development of RTS. History of Westwood The history of Westwood Studios, the developer of C&C, is vital to the RTS genre; without C&C, RTS might be very different today, and without Westwood Studios, RTS might not even exist. It was the company’s commitment to risk-taking and creative freedom that allowed C&C and RTS to bloom.
    [Show full text]
  • Managing Your Economy C H a P T
    *4166_ch01_FINAL 9/17/02 11:37 AM Page 1 Managing C Your Economy H aging war, commanding groups of mythological creatures, A Winvoking devastating god powers, researching powerful new technologies—it’s all part of the incredible Age of Mythology experience. But none of these things would be possible without the resources required to fund them. In Age of Mythology, economy is the P backbone of your civilization. This section covers Age of Mythology’s basic economic concepts. It includes a profile of all five resources and the effects of improvements T on them. We show how strategy should dictate your economic focus, how to run an efficient economy, and how to use your Market and trade to balance resources and create an additional income. For advanced E economic strategies, check out Chapter 10, written by expert player and Ensemble Studios tester Chris Rupp. R COPYRIGHTED MATERIAL 1 *4166_ch01_FINAL 9/17/02 11:37 AM Page 2 Resources Without resources, it’s impossible to train a military, advance to the next Age, or even erect a viable defense.There are five resources to collect or gain in Age of Mythology, and each plays a vital role—some more than others, depending on your game situation. TIP This section covers Age of Mythology’s five resources: For detailed statistics for all food, wood, gold, favor, and population. Some resources general and culture-specific are available in different types, such as food, and some resource improvements, check the civilizations collect certain resources differently, such as Appendix in the back of this book.
    [Show full text]
  • Mars and Venus 1
    Running head: MARS AND VENUS 1 Mars and Venus: Symbols of the Chaotic and Conflicted Human Passions and the Reestablishment of Order in “The Knight’s Tale.” Olivia LeeEtta Blessing A Senior Thesis submitted in partial fulfillment of the requirements for graduation in the Honors Program Liberty University Spring 2011 MARS AND VENUS 2 Acceptance of Senior Honors Thesis This Senior Honors Thesis is accepted in partial fulfillment of the requirements for graduation from the Honors Program of Liberty University. ______________________________ Carl C. Curtis, Ph.D. Thesis Chair ______________________________ Michael Babcock, Ph.D. Committee Member ______________________________ Kristina Schimmels, M.Ed. Committee Member ______________________________ Marilyn Gadomski, Ph.D. Assistant Honors Director ______________________________ Date MARS AND VENUS 3 Abstract During the Middle Ages, Europe experienced a period when philosophers attempted to separate and analyze the passionate and rational elements of the soul. Some supported strict reason as the sole moral basis for living, while others looked to the tempestuous passionate emotions. Geoffrey Chaucer’s “The Knight’s Tale” portrays this conflict between reason and the passions through the depicted relationship between Mars and Venus and the uncontrolled passions of Arcite and Palamon. Determining that a world controlled by passions results in chaos, Chaucer offers three different solutions—negating the passions, subjugating the passions to reason, and a balance between passion and reason. He ultimately determines that only the third option will result in true order within nature and the human soul. MARS AND VENUS 4 Mars and Venus: Symbols of the Chaotic and Conflicted Human Passions and the Restablishment of Order in “The Knight’s Tale.” Probably the most popular English medieval author, Geoffrey Chaucer wrote literary works reflecting a distinctly medieval style of writing, and his literature is to some readers the culmination of that period’s most significant literary ideals.
    [Show full text]
  • A Guide to the Iron Lore Entertainment Memorabilia Worcester Polytechnic Institute
    Worcester Polytechnic Institute DigitalCommons@WPI Collection Guides CPA Collections 2014 A guide to the Iron Lore Entertainment memorabilia Worcester Polytechnic Institute Follow this and additional works at: http://digitalcommons.wpi.edu/cpa-guides Suggested Citation , (2014). A guide to the Iron Lore Entertainment memorabilia. Retrieved from: http://digitalcommons.wpi.edu/cpa-guides/5 This Other is brought to you for free and open access by the CPA Collections at DigitalCommons@WPI. It has been accepted for inclusion in Collection Guides by an authorized administrator of DigitalCommons@WPI. MS 15 Iron Lore Iron Lore Entertainment Collection MS 15 Game Abstract: Most of the items in this collection relate to Iron Lore's game Titan Quest. Background: Brian Sullivan, owner of Iron Lore Entertainment in Maynard, MA, gave this collection to the WPI Archives & Special Collections in 2008. Scope and Content: Most of the materials in this collection are from around 2006 and relate to the Titan Quest video game. There are also three cardboard stand-ups, for the Age of Empires and Age of Mythology. Mr. Sullivan also gave many gaming magazines, from 1994-2008. Container List Container Folder Date Title c. 2006 Minotaur and pedestal 10 foot tall statue and pedestal used to promote Titan Quest c. 2006 Banner 20 foot long banner for Titan Quest used at E3 c. 2006 Cardboard stand-ups 5 foot tall cardboard stand-ups - Age of Empires II display, Age of Mythology display, Age of Empires - The Conquerors - Expansion display Box 01 2006 Titan Quest game PC DVD, Catalog record: GAMES 2006.18 Box 01 c.
    [Show full text]